Plot: What’s it about?
Crystal (Natasha Lyonne) is better known as White Girl and she makes her money by luring tricks into her arms, then robbing them blind. Of course she soon runs into trouble with the law and ends up in a youth facility, where she meets other girls in similar situations as herself. White Girl is just at this place until she turns old enough to be placed into a real prison, where she will serve a twenty-five year sentence. Of all the girls there she makes best friends with Cyclona (Maria Celedonio), a psychotic lesbian who fantasizes about Sporty Spice. Cyclona wants to get a piece of White Girl’s ass, but she never gets the chance until she hatches an escape plan that will save them both from real prison. So White Girl uses her bulimic powers to help the two run away from the place and hit the road toward Mexico, where Cyclona’s savior Sister Gomez resides. This trip is like no other, as the two murder civilians, have kinky sexual encounters, drink all the time, do drugs and then White Girl tries to throw it all up.
This is the follow up to the film Freeway, but I am not sure the term sequel really applies in this case. The storyline is not continued and no characters return, so basically we have a new movie that is made in the same vein as the original. This follow up contains even more crude references and off color humor, which means easily offended folks will want to steer clear of this one. The original film was loaded with politically incorrect stuff, but this one takes the cake when compared to that movie. I think most of the humor works, but toward the film’s end it seems very forced and hollow, like the creative forces are trying too hard to be controversial. But it doesn’t ruin the movie in the least, as the first three-quarters of the film more than make up for the somewhat poor ending sequences. The writing is good in this movie, but I do feel the original boasted a more coherent and solid storyline and characters. I am still glad this follow up was made though, because it offers more of the same laughs the original did. I recommend this as rental to first timers, but Freeway fans will want to seek this one out as soon as possible.
This film was written and directed by Matthew Bright, who is no stranger to unusual and unique cinema. While the two Freeway flicks are his only efforts as a director, Bright has written several other films in his career. As I mentioned above I think the original Freeway had a more rational storyline and such, but this one is also well written. That is until the final sequences, which seem rushed and poorly executed. But don’t let these last few scenes ruin it for you, because the rest of the movie is entertaining and fresh. Bright handles the disturbing subject matter well and manages to make it all seem very realistic, which is no easy task. If you want to see more of Bright’s work as a writer I recommend Modern Vampires, Wildfire, Shrunken Heads, Gunshy, and Forbidden Zone. Natasha Lyonne (Detroit Rock City, Slums Of Beverly Hills) gives a strange, but memorable turn as the lead, while Maria Celedonio (The Substitute, Foxfire) supports her in fine form and stands as the most unique character in the film. The supporting cast includes Vincent Gallo (Buffalo ’66, Hide And Seek), John Landis (director of Animal House, etc.), Jennifer Griffin (Better Than Chocolate), April Telek (Masterminds, Screwed), and David Alan Grier (Jumanji, Boomerang).
Video: How does it look?
Freeway 2: Confessions Of A Trickbaby is presented in a 1.85:1 widescreen transfer, which is not enhanced for widescreen televisions. The image looks very good, but in some places you can tell inferior stock was used. Aside from that and some slight edge enhancement, this is a good transfer that has no serious flaws to discuss. The colors look bright within a natural scope, while flesh tones appear normal and warm. The contrast is very good in most instances, but when inferior stock is used the shadows are too bright. So this is not a perfect visual presentation, but it is a very good one and displays the movie in fine form.
Audio: How does it sound?
The included stereo mix is adequate in all respects since this isn’t an audio focused film, but some sequences would sound better in a full surround remix. The music sounds very good in this track, but again lack the punch and depth of a full surround mix. But as it stands this mix is very good and never falters too much. The effects come across well and dialogue is crisp and clean also. The vocals never become distorted or overpowered in the least, which is good for a movie like this.
Supplements: What are the extras?
This release contains cast and crew filmographies, the film’s trailer, and information on Full Moon merchandise and website.